作为中国特有美学概念的“写意”

Xie-Yi as a Unique Aesthetic Concept in China

“写意”近年来已成为美学讨论的热点,写意艺术与流派不断涌现,“写意美学”的建构也提上了日程。学界期待在当代语境中重提“写意”,能为美学理论提供新的可能,也帮助中国艺术在全球化中重新定位。不过,值得注意的是,在与西方美学的对话中,“写意”在传统语境中的含义却常常被遮蔽和曲解,被混淆为表现,或被简化为一种画法。要重新发现“写意”的理论价值,应首先还原“写意”作为中国特有概念的原初的、丰富的意蕴,再探讨它与西方理论的同异,以期为当代和未来的美学理论提供新的方向。

Xie-Yi has recently become a hot topic in Aesthetic discussion,with the emergence of Xie-Yi art and schools,and the construction of Xie-Yi Aesthetics has also been put on the agenda.It is expected that the reintroduction of Xie-Yi in the contemporary context will provide new possibilities for Aesthetic theory and help Chinese art to reposition itself in the globalization.However,it is worth noting that in the dialogue with western Aesthetics,the meaning of Xie-Yi in the traditional context is often obscured and distorted,confused as expression,or simplified as a skill of painting.For rediscovering the theoretical value of Xie-Yi,we should first restore the original connotation of Xie-Yi as a unique Concept in China,and then discuss its similarities and differences with western theories.Maybe we could provide a new direction for the present and the future Aesthetics.